This analysis follows the previous theoretical discourse on the analysis discussing the character Siyao, with the character Xiaoting as the focus. The wavering character setting of Xiaoting featured in Set, especially in the past few days, has caused quite a few disputes online. This analysis argues that Xiaoting has, from the perspective of psychoanalysis, undergone a subjectification that eventually leads her to adopt a pervert gesture toward the other, in other words, directly posit herself as the object of jouissance of the other. Before I begin the analysis, however, there are two clarifications I would like to make. 1) psychoanalysis is a theoretical discourse that is explanatory instead of argumentative, least universal. The charges that psychoanalysis is an all inclusive tool of explanation ignore that fact that all theoretical discourses endeavor to explain and understand the aspects of human beings and the world one way or another. 2) I have written on the unreliability of the multiple narratives of Taiwanese local melodrama and especially emphasized the subversiveness of Set’s strategy of shooting and casting at the same time. The introduction of performance theories before the character analysis comes with specific intention: to remind the readers that my analysis remains limited to the episodes cast so far and the analysis by no means purports to build a consistent discourse on a character that is by the nature of the genre shifting all the time. Any attempt to pinpoint the character as such is to compromise the subversive elements of local melodrama. A pervert subject may sound badly, a consequence of common misusage of the term. In the theoretical framework of Lacan/Zizek, a pervert refers to a subject who claims direct access to the other and the other’s jouissance by positing him/herself as the object of jouissance. The term jouissance, in simplified words, means pleasure in pain. In an ordinary subject-other relationship an object mediates between the subject and the other, as the other and its desire is both desirable and terrifying. (Please refer to my previous analysis on the maternal other, and consult castration complex online.) A pervert deposits him/herself as the object of the other’s desire, jouissance. Jouissance, in simplified words, means pleasure in pain. Hence the pervert puts him/herself in a pleasurably painful situation to fulfill the other’s desire and by doing so to fulfill his or her own sense of subjectivity. The psychoanalytic subject, it must be pointed out, fundamentally lacks. During the subject formation the infant firstly cedes its own love object, and then the infant cedes the maternal other in favor of the symbolic father. The lacking subject forever mulls over the other’s desire and needs a love object, which due to the nature of ceding, is both painful both retrospectively pleasurable. The above theoretical framework explains Xiaoting’s irrational acts to follow Siyao’s demand to marry only to shortly regret. Similar situations occur again and in recent episodes, further demonstrating that Xiaoting, in the face of the symbolic order represented by the two families and her real other, Syiao, in a sense enjoys jouissance. Again, the above analysis does not try to exclude any other explanation, let alone to provide a consistent rationalization. --

※ 发信站: 批踢踢实业坊(ptt.cc), 来自: 219.87.3.30 ※ 文章网址: http://webptt.com/cn.aspx?n=bbs/the_L_word/M.1403069991.A.6FA.html 原PO在此先跪主机板...抱歉再度造成大家困扰 但我真的无法用中文写理论 我已经很努力写的很直白了 (泪奔) 以下抱歉要继续荼毒大家... (回去跪主机板) The characterization/subjectification of Xiaoting did not take place until she set the trap for Weije in the hotel. She remained a flat character before that episode from the viewpoint of performance studies, and in an infantile stage from the perspective of psychoanalysis. To be more specific, the character Xiaoting is still during subject formation in current episodes and highly flexible. Her stubbornness for love, no matter for Weije or Siyao, can be loosely regarded as an infantile attachment to the other that supports her ego ideal, an individual that has no other regards but for love. Her setting trap for Weije marks her first ceding, her giving up of part of self for the other, while her giving birth of the twins marks her entrance of symbolic order as a mother who must bear the social responsibility. In other words, Xiaoting’s attachment to Siyao belongs to the dimension of the real, while her symbolic obligation forces her to choose “the one I don’t want to name at all.” She is in this sense a split subject as well. Xiaoting’s acts, in my opinion, is far beyond pleasure principle, but driven by her drive, or joussiance that is the other’s jouissance as well. The other in this case concerns not only Siyao but the symbolic order, the society represented by the Sun and the Shieh families. ※ 编辑: concious (114.43.167.126), 06/18/2014 22:42:20 ※ 编辑: concious (114.43.167.126), 06/18/2014 22:47:21